Written for MASH Magazine Edition XI: Tapestry F24

The ascendance of Vietnamese designers in the global fashion landscape has revealed how cultural authenticity functions as both an asset and constraint in Western fashion trends. The transformation of traditional Vietnamese elements like the áo dài dress into contemporary, luxury pieces demonstrates not just an aesthetic evolution, but a complex negotiation of power, identity and market forces that shape how Vietnamese designs are presented and consumed globally.

At the forefront of this movement is designer Nguyen Cong Tri, whose silk and brocade pieces embody the complex dynamics between traditional Vietnamese aesthetics and global markets. His designs, which incorporate áo dài-like silhouettes and intricate handwork, have been worn by A-list celebrities such as Rihanna and Beyoncé. His success raises questions about the balance between cultural commodification and authentic representation, and how Asian designers must navigate between preserving cultural integrity and achieving widespread recognition. Rather than conforming to Western aesthetics, Cong Tri has adapted and paved his path forward, utilizing Vietnamese techniques such as hand pleating and painting, as well as drawing on rural life and the silhouette of the ao Ba Ba.

The emergence of Peter Do reveals how Vietnamese creatives must often first prove themselves within established Western fashion houses before their individual voices are deemed legitimate. Having honed his craft at Celine under Phoebe Philo and Derek Lam, Do’s Western fashion experiences served as a crucial stepping stone to launching his own label in 2018. This pattern reflects the persistent power dynamics within the fashion industry, where Western institutions serve to gatekeep what constitutes “luxury” or “high fashion.” However, Do’s success also demonstrates how designers can strategically use this exposure to later challenge the same institutional constraints. Through his label, he subverts luxury fashion conventions by blending Vietnamese craftsmanship with progressive values like sustainability and gender fluidity, while still maintaining Western technical standards. His approach demonstrates how designers can utilize institutional validation to create space for diverse expressions in luxury fashion.

This navigation between worlds is particularly evident in how Vietnamese designers approach garment production. Lam Gia Khang, a rising star in Vietnamese fashion, has developed a method to replicate intricate hand embroidery using specialized machines. This allows him to maintain the essence of traditional Vietnamese embroidery, while significantly reducing production time and costs. 

The tension between traditional artisanal craftsmanship and modern industrial manufacturing demands reflects larger questions about cultural authenticity in a globalized market. When ancient Vietnamese embroidery techniques meet fast-fashion timelines and Western consumer expectations, the resulting compromises reveal how market pressures shape creative decisions, often favoring efficiency over traditional methods. 

Designer Phuong My’s approach to bridalwear illustrates how Vietnamese designers are reframing the narrative around Asian fashion elements. Rather than allowing Western markets to exoticize traditional designs, she positions Vietnamese aesthetics as inherently modern and luxurious through her bold, asymmetrical silhouettes made with silk organza, a fabric traditionally used in Vietnamese styles, and generous use of tulle, challenging the historical tendency of Western fashion to reduce Asian design elements to Oriental motifs or exotic accents. 

Social media has added another layer of complexity to this cultural negotiation. While platforms like Instagram or TikTok have increased fashion visibility, they’ve also accelerated the cycle of cultural appropriation and commodification. The speed at which the trend cycle occurs online has resulted in the overcirculation of trends, particularly the áo dài, cheongsam, hanbok, sari and kimono, inspired by, or appropriated from, Asian culture. The increase in demand for content puts pressure on brands to recreate their success, yet with a new, “exotic” twist, which can lead to a superficial use of Asian cultural elements rather than meaningful representation. Asian designers must now navigate how their traditional elements are shared, interpreted and potentially misappropriated in digital spaces where context can be easily stripped away.

Despite these challenges, Vietnamese cities like Hanoi and Ho Chi Minh City are emerging as new centers of luxury fashion innovation, marking a shift in the geographic distribution of the fashion industry’s power. However, this emergence raises questions about whether these cities are truly developing independent fashion identities or merely becoming satellite centers for Western fashion standards.

The pricing strategies of Vietnamese luxury brands further illuminate the complex power dynamics at play. Designers must position their work within the global luxury market while remaining conscious of local economic realities, creating a tension between international prestige and domestic accessibility. 

Brands like Thuy Design House and Cong Tri price their handcrafted pieces at a premium, highlighting the skilled artisanship involved and positioning Vietnamese luxury brands as unique and worth the investment. Meanwhile, internationally, these houses, like Phuong My’s bridal collection, are slightly less expensive than Western brands to appeal to the international consumer. 

More fundamentally, the integration of Vietnamese design into global fashion raises questions about the nature of cultural evolution itself. When traditional elements are reimagined for contemporary markets, what constitutes authentic preservation versus profitable adaptation? The success of Vietnamese designers suggests that cultural authenticity isn’t static, but actively negotiated through creative practice.

As Vietnamese fashion houses such as Kilomet 109’s eco-friendly fashion or Fanci Club’s viral frilly, bow-adorned designs continue to gain global recognition, they’re not just selling clothes — they’re participating in a larger dialogue about power, representation, and cultural authority in global fashion. Their success or failure in maintaining cultural integrity while achieving international recognition will likely influence how future generations of non-Western designers approach the global market.

The trajectory of Vietnamese fashion houses cannot be separated from the broader context of Asian luxury brands in Western markets. The success of Japanese designers like Rei Kawakubo and Yohji Yamamoto in the 1980s, followed by the rise of Korean influences in contemporary fashion, has created both opportunities and constraints for Vietnamese designers. 

These predecessors have simultaneously opened doors and established potentially limiting expectations about how Asian design should look and function in Western contexts, meaning that Western markets may expect Vietnamese designers to either conform to pre-existing Asian fashion narratives or perform an exoticized version of their cultural identity that aligns with Western fantasies about East Asian aesthetics.

This complex legacy is particularly evident in how Western luxury consumers approach Asian-inspired design elements. While there’s a growing appreciation for Asian craftsmanship and aesthetics, this appreciation often comes with unconscious colonial undertones where traditional techniques are valued only when validated by Western trendsetters or recontextualized through a Western lens. 

For one, the Chinese-inspired “cheongsam” or “qipao” dresses illustrate this dynamic. When traditional cheongsam designs are worn by Chinese women or presented by Chinese designers, they may be viewed as “ethnic” or “traditional” wear; however, when a Western luxury brand like Gucci or Prada incorporates cheongsam-inspired elements into their collections, suddenly these designs are hailed as “innovative” or “exotic chic” by Western fashion media and consumers.

As a result, Vietnamese designers face the additional burden of not just creating innovative designs, but actively working to dismantle these institutions while ensuring their work remains commercially viable. Their success in this endeavor could help reshape how future generations of Asian and other non-white designers are received and understood in global markets, potentially creating space for more nuanced and authentic cultural expression within the constraints of Western fashion.

The future of Vietnamese luxury fashion, or Asian luxury houses in general, represents more than just a trend or market opportunity — it serves as a crucial case study in how traditional cultural elements can be preserved and elevated within Western-dominated institutions. As Vietnamese designers continue to navigate between cultural authenticity and global market demands, they’re not just creating fashion — they’re redefining what it means to be authentic in an interconnected world.